GIORGIO BADALACCHI PORTFOLIO
Il Fiorino HQ
Colon theatre expansion
Aalto Campus University
Giorgio Badalacchi, 1985 Bogotá, Colombia
Contacts: +44 (0) 7447365653 23 Theobalds road, flat 1 (WC1X 8SL) London, UK firstname.lastname@example.org
Computer programs handled
Work and Competitions experience
Autodesk Autocad :: 6 years of experience 3D Studio max :: 4 years of experience Rhinoceros :: 4 years of experience Grasshopper plugin :: 2 years of experience GIS Media :: 1 year of experience Autodesk Ecotect :: 1 year of experience Adobe Photoshop :: 6 years of experience Adobe Indesign :: 3 years of experience Adobe Illustrator :: 3 years of experience Adobe Premiere :: 1 year of experience Microsoft Office :: 8 years of expereience Precessing :: 1 year of experience
-72 Hours Urban Action Competition 2nd prize. Roskilde, Denmark. 2013. -Independent architect developing the competition for New NCCA Moscow. -Independent architect developing Colon theatre expansion in Bogota, Colombia. -Architectural assistant at EcoLogicStudio London, UK 2012 - 2013 . Projects developed: Expo Milano 2015 pavilion, Meta-Follies (an interactive pavilion for FRAC centre), HORTUS Paris ( EDF Fondation). -Web and graphic designer for Architectural Association Visiting School Milan 2013 -Independent architect developing OBLAKA summer pavilion Competition. Finalist 2013 Flint, Michigan, US. -Architectural assistant at Appareil, Barceona, Spain 2012. Developing Aalto University Campus competition. -Smart City Development at IAAC Barcelona 1st prize 2012. -Architect designer at Diller Scofidio + Renfro and Felipe Uribe de Bedout office CCB (Convention Center Bogotá) development of competition concept 2011. -Teacher assistant at Universidad de los Andes in “History of Architecture”, Bogota Colombia
Additional skills Languages English Italian Spanish
Carpentry Laser cutter CNC Milling machine Rapid prototyping
Academic Professional Collaboration
Master in advanced architecture from IaaC (Institute for advanced architecture of Catalonia) Barcelona, Spain 2011 -2012 Architect graduated from the Universidad de los Andes. Bogotá, Colombia 2005 - 2010
NEW NCCA MOSCOW The developing project is located in the Khoroshevsky neighbourhood. This area is situated beyond the Third ring road, which is the main reason for the least amount of interest from the citizens, apart of those living in the neighbourhood. However, the area has a great potential for development. In terms of accessibility, it is being very well connected to the city centre. Leningrad Avenue, one of the major thoroughfares of the city, limits the Site on one side, while the Third ring road – on another. Apart from that, six different subway stations are surrounding the area within the 15-20 minutes’ walking distances: Sokol, Airport, Dynamo, Begovaya, Polezhayevskaya and Octyabrskoye pole. Analysing the green park and public zones within the neighbourhood, the major areas are Chapayevsky and Berezovaya rosha parks. However, they contribute only 6% of green areas for the neighbourhood, which is not enough for the emerging conception of Green Moscow. The project addresses this museum as a new landmark for the entire area, as well as an attraction point of public interest to the North-West of Moscow city. It presents innovativeness of the project in the materials and the outer shell – the building must not look like any other projects, it has to have its unique architectural and spatial qualities.
The form finding of the project is based on the division of the museum complex program into several different parts depending on the functional content, hereafter we call those parts blocks. The blocks are divided among themselves and are positioned around the perimeter of the zone to clear up the central space for the development of the new park. Some of the units are raised above ground level to improve pedestrian permeability through the complex. Only 5 units are based on the ground and are the main structural core of the complex, also playing the role of the main entrance groups. Each of the blocks is connected with the closest neighbouring one, shaping into a single enclosed form. That guarantees circulation of the pedestrian flow within the building and through its various functional content accordingly.
perspective from the sculpture courtyard
gallery space entrance to the courtyard entrance to the courtyard entrance to the courtyard entrance to the courtyard entrance to the courtyard main entrance hall entrance to the courtyard
service zone exhibition space central courtyard public zones
parking public plaza
first floor plan
Massive occupation in m3 according to the program
Subdivision of program in cores, and expantion in the public area
Bridging the program with a continuous space: the exhibition zone
Skin like fabric, creating a statment of the contemporary state of art
THEATRE EXPANSION Architecture is the language of the cities, is the physical expression of a society. When walking through a place or a space is used, everything in them is designed, intended, for human and nonhuman activity. One of the most important is that of the encounter, meet, discuss, make decisions, develop ideas, think ahead. Usually in the Latin American cities that existed in the places associated with some power (governmental or religious) now we can see how these social construction spaces are related more to culture activities. These spaces are the museums, libraries, theaters, convention spaces between knowledge and questions the come. Museums and libraries are large catalogs of information and ideas which are available for users to be learned, understood and transformed to create. The theatres have the distinction of being a living expression, immediate manifestation or representation upon ideas. They involve a plot, setting and action, same elements of everyday life, but in this case are imaginary representations. This proposal seeks to go beyond representation and convert the Teatro Colon in a cultural landmark building, training and transformative thinking of new ideas. The building consists of a large platform that relates three main volumes where the activity of the show and the technical support is required.
The platform framing the main entrance, contains within it a dynamic envelope with circulations taking you through all the activities. In the groundfloor, there is a curved surface formed by a superposition of sections that invites people to touch and to sit on them. Also it makes a geography or interior landscape, which curves look amazing in the path of visitors, inciting, as happens in the city, the surprise of the unexpected.
Oblaka Oblaka is a temporary pavilion designed for a competition in Flint, Michigan. It is formed by 3 different layers. which are performing as independent systems, and at the same time are linked physically between each other. The structural frame keeps oblaka still, while the hanging pipes keep it floating. Oblaka is not only a space inside a frame. We think that as every cloud it contains every space under itÂ´s shadow. This condition keeps it growing more than it physically is, at variable directions during the day, having always constant shade. Oblaka is not only a pavilion; is a new icon in the city standing during all the summer and occupying only two parking places. Oblaka is multifunctional; events are not only happening under the pshysical structure. We believe that every kind of event as well can happen around. ( any kind of art exhibitions and performances, theatre, film festivals, any kind of music festivals and concerts )
Oblaka view from the outside
THE GATE [72HUA] 72 Hours Urban Action is a real time competition made in different cities on the world each year since 2010. It is about a civic design practice that involves residents, decision makers and professionals. It harnesses creative thinking and existing resources within a community to rapidly make places. Through the power of temporality and experimentation, it encourages participation and a lasting change of perception. Through an extreme deadline, a tight budget and limited space, Urban Action sets the imagination free to allow for new possibilities and players in public space. In this case we had the oportunity to make our intervention in the Roskilde music festival in Denmark. In 72 hours we designed and built this project in the most stressful and extreme conditions, using local material. Our project is built using the most traditional ways to work with wood in Denmark, but the result is a contemporary application of the material. The installation is made by 4 indipendent modules, one flat platform , 2 twisted walls and a twisted roof. Both the twisted walls turn counterclockwise 90 degrees switching from horizontal to vertical and ending horizontal again. The installation will take its final
shape on site when the vertical colums will be inserted into the ground and screwed to the modules. To dismantle it the colums will be unscrewed from the modules and removed from the ground.
Module 4 twisted roof and a Module 3 platform to relax and twisted wall vertical to stare at all the festival horizontal 90 degrees Module 2 twisted wall horizontal c o u n t e r c l o c k w i s e to vertical 90 degrees Module 1 interactive platform c o u n t e r c l o c k w i s e stand up and say hello or goodbye to the dream city
META-FOLLIES The initial conception of the pavilion’s form and spatial organization has been purely mathematical, by means of a “field of sensitivities”, materialized digitally around a set of sensitive points, namely the future occupants of the pavilion itself. Such field description, or META-space, forms the basis for a spatial dimension and resolution able to frame the fluctuating relationship between user’s sensitivity vs. intensity of a sonic stimulus. This resolution has been adjusted in this new updated version of the pavilion to suit 3 occupants and to materialize the field of sensitivities into a reasonable number of components [700 in total with 400 sensitive ones], constituting the envelope of the pavilion and its sonic articulation. This “META-frame” operates as a tympanum against which energetic waves resound. The waves are materialized as light and sound waves, emitted by the tendrils; each tendril is hosted by a component of the pavilion envelope and is equipped by an LED light and a PIEZO buzz speaker. These emitters will be amplified analogically by the surface of the component itself and will release units of sound and light when activated by human presence and movement; such actions will be captured by 9 sensors distributed on the skin of the pavilion; an ARDUINO micro-processor will process the information and actuate the tendrils in sequences based on human proximity.
The pavilion’s architectural ambition is to computationally arrange “urban trash”, i.e. recycled material and low tech digital components, to synthesize a new nature or, better, to explore a new definition of “natural beauty” and our perception of it. The pavilion will be entered from one access only, a soft gap in the skin that will close behind the visitor like a curtain. Once in the visitor will be able to choose from 3 niches which he or she will be able to access and seat inside. From each niche the visitor can play with the interactive zones, by stimulating the tendrils with their hands and arm movements. As a consequence the sound and light patterns will change and respond the stimuli with new variations and frequencies. This complex evolving effect is the emergent product of a swarm of very simple entity interacting in space and time; the intelligence of the pavilion material system resides in the accumulated effect of small differences; each skin component and related tendril is in fact in itself a very simple entity, relatively easy to fabricate and inexpensive; however as each unit is different from each other and it is located in a different position relative to each other
IL FIORINO HQ This is the first professional project that was commissioned and constructed , in which the client seeks to refurbish a warehouse, adapt the offices internally, create an exhibition room of natural stones and materials for architectural finishes and make an extreme change to the faรงade, all that under the lowest price possible and the minimum visual impact on the zone. The strategy is to preserve the structure of the faรงade, leave the superior projecting roof, and create some showcases on the first floor where a frame is generated that highlights the exhibition that is seen from the street. Facing the street, the showroom has a glass, which allows visual relation with people passing by and the exhibition inside. During the night this big glass is covered with perforated oxidated metal panels, which are keeping first floor safe and translucent, so people by night can still enjoy the exhibition from the street. Regardless from the design work, what was most valuable of this experience, has been to be involved inside the construction site, taking responsibility of it, and learning how things work in the construction field even if it is in a small scale.
AALTO UNIVERSITY CAMPUS The main feature of the scheme is the deployment of a wooden canopy surface that covers almost the entirety of plot of land and acts as a rain and snow protector for exterior spaces. This surface hosts certain parts of the required program, the most public one, in a distributed manner. In this space, there is no differentiation between faculties or departments, the spatial distribution is organised in a way that deliberately blurs the differences between disciplines and merges the activities into spaces of exchanges, improbable encounters, potential collaborationsâ€Ś All enclosed rooms are partially transparent and surrounded by covered public space used for circulation or recreation, this elevates the activities in the workshop to events, spectacles promoting knowledge interaction. This strategy enables the preservation of the initial terrain and therefor reduces the footprint of the intervention to a very low impact. Inbuilt, yet covered space retains the natural quality and biodiversity of an exterior natural environment. Contrasting with the excessive public character, the faculties are located above the wooden surface in a seemingly private setup where isolation can be reached. They inscribe themselves within the architectural language of the neighbouring constructions.
They are compact structures consisting of concrete and brick construction techniques, thermally highly efficient and conventionally distributed. They provide classrooms and office spaces deserved by corridors and naturally illuminated. They are organised as independent faculties and only accessible by their respective staffs and students .
View from under the canopy
DEBRIS LAMP The aim of the exercise was to get familiar with the first of three digital fabrication tools that we explored during the course: the laser cutter. By the end of the course, we were familiar with modeling digitally, inventing strategies to translate a geometry into an articulated constructible solution, producing the cad file to be used for machining, fabricating the pieces and assembling them into a finished object. The main particularity of the laser cutter as a fabrication technology is that it is exclusively used on sheet materials. Apart from the skills and tasks mentioned above, we had to work inventively and creatively to imagine and produce a three dimensional object that exploits some of the properties of the material. To reach these assembled objects,we had to work out manners in which to join, to attach, to connect the various pieces of the object. To emphasis this aspect, we designed our own assembly strategies without the use of neither glue nor nails, and without mechanical connections such as screws. Our inspiration came from ivy, glaciers and debris. The technique focused on focal points in ribbing and creating angular joints. The final product now was not only a light but could be used as a coffee table or an end table.
Shape evolution until itâ€™s simplification.
MUGAC Religious structures temples, cathedrals, mosques, pyramids- have dominated the landscapes and imagination of great cities. Contemporary cities seek to recreate those sacred spaces through commercial skyscrapers and evocative cultural structures. These places generate a feeling of civic patriotism or respect. It is a striking landscape, a base in which the people build their important social myths. Institutional buildings (monuments, archives, libraries and museums) accumulate the cultural inheritance of each society. Through these buildings, that heritage or legacy is transmitted to the next generations. They are containers of a fraction, of a moment in history, whose structure must succumb to the particularity or to the social characteristics. The proposal that is developed in this architectural project that complements an urban situation, re-signifies an architectural typology, and explores the experience of wandering in an interior. It is a symbol that unifies the city.. MuGAC is a Museum Gallery of Contemporary Art located in a neighborhood in Bogotรก called La Candelaria that apart from taking advantage of the cultural and emblematic conditions given by the sector, crates a new
space for the expression of current artistic movements and opinions This museum gallery is an architectural ensemble configured by: A tower that exceeds the average height of the buildings in the apple, it makes reference to the church bell towers of the area. It is a structure in height, that reinforces the iconic character of the ensemble proposed and it unifies with the emblematic profile of the area. In it, exhibition rooms and the administration offices of the museum are contained. A first layer is the continuation of the street: the deck. One may transit and it can be taken in advantage when there are projections of movies or videos. The second layer is the ensemble of the compartments that contain the works : the showrooms. These are organized around the circulation; a sequence of projected ramps following the principle of the continuity of the Moebius Band. The third layer is the underground: it contains all the services for the staff. Also, it conserves and preserves the artworks that are not exhibited and the ones that are in process of restoration. MuGAC is a fractioned surface. It preserves an instant of the present; it shows it through continuity and projects a future. Historical evolution of Bogota and project perspective
tower with small exhibitions
open air theatre
sculpture courtyard restaurant
shop and rest area
SOUNDCITY Barcelona is a coastal city and the city has always had a love-hate relationship with the water. Its geographic location and proximity to the rest of Europe has long been a feature exploited over time for various reasons of power, war and trade. Although Barcelona has always had a natural harbour, heavy winds wrecking ships caused great concern amongst the cityâ€™s citizens and the first wharf was constructed in 1477 so that maritime commerce could continue and grow. Subsequent additions to the port have gradually been done over time and from 110 hectares in 1868, Port de Barcelona currently covers 1062 hectares and this is all set to grow to 1200 hectares by the year 2050. Land was reclaimed from the south and south-west for the first expansion. Seamen and fisherman set up their homes in this new area. The eastern portion too was expanded over time. So what is the cityâ€™s relationship with the port? How did a port with close ties to the city and its people slowly become an isolated island? The port today is like a ghost city that works like a well-oiled machine no doubt. With a well-laid out multi-modal transportation network of trams, rail lines, trucks and short sea voyages, the port today is all set to
handle large volumes of commerce and traffic. But in the process it has also faded from public memory as the constant that keeps the city going. Is there a possibility of bringing these seemingly disparate entities together? After all each needs the other for its survival. What could be the implications of bridging this invisible gap? Could the city benefit from an architectural intervention that opened up new possibilities of activities and experiences? Could the port shake its ghost tag off? Could the port and city come together as one space but with a multitude of opportunities? How we experience these sounds depends on the physical context of built spaces, built and natural topography. Sound is propagated as waves, longitudinal waves and only in the presence of a fluid medium like air or water or a solid. In fact, sound waves are multiplied 4-5 times in water, and sound waves die with resistance and distance. And that every activity, big or small has a characteristic sound that could be read as simple data of decibels. This means that manipulating activity could manipulate the sound generated. And that sound behaves differently in different environments. The challenge now was to bring all these together to create possibilities in a tangible, physical manner.
Detail, model scale 1:50
Prototype of two units, scale 1:25 with hidraulic system.
Making of the prototype. Materials: 3mm ice perspex, elastic white fabric, 10mm screws
Inside the prototype: motors making move the triangulated surface.
Milled bathymetry scale 1:1000, material: foam
Process mock- up model, showing the urban strategy
Milled bathymetry + engraved perspex with urban context and laser cutted strategy
Close up in the urban model, scale 1: 1.000
Final model before the presentation
Process mock- up model, showing the urban strategy